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A review by nclcaitlin
The Voyage Home by Pat Barker
3.75
Three women, all slaves in their own way.
This is told from three perspectives: Rista, once healer, now Cassandra’s maid and a slave. Cassandra, royal at birth, the high priestess of Apollo, and now Agamemnon's war bride. Finally, Clytemnestra, Agamemnon's wife at home who is grieving her daughter sacrificed so the Greeks could sail to Troy.
’But isn't that the point? Who decides who's a monster?'
"The winner.'
Ritsa’s chapters are the only ones told in first person which creates a sense of intimacy and makes this more poignant and instant.
Through others’ eyes, and with insights of her own chapters, we see Cassandra has learned long since to disguise her doubts and fears — if she had any. This makes her appear aloof, careless, and yet the glimpses into her insecurities makes her humane and her proclaimed madness seems apt.
Clytemnestra is supposed to be evil. The deviant wife. Yet, her grief and rage has a firm basis and her capacity for revenge is shown to reinforce a cycle of violence.
What might not appeal to some readers is the modernity of this retelling. It uses language more suited to 21st century dialect.
Example:
’Agamemnon's just like you?' I said.
"Why, aye, you could have a drink with him, bit of a laugh...'
Best mates with Agamemnon. Oh my god.
Do not go in expecting the Iliad.
This is a retelling in a more accessible voice, giving voice to the silenced and oppressed.
This is relatable, relevant, and definitely a step up from her two previous books!
’He had no choice. The gods required it.'
Cassandra laughed. 'The gods must have broad backs, don't you think? Anything anybody does gets blamed on them.'
Thank you to Penguin Books for providing me a physical arc in exchange for a review!
This is told from three perspectives: Rista, once healer, now Cassandra’s maid and a slave. Cassandra, royal at birth, the high priestess of Apollo, and now Agamemnon's war bride. Finally, Clytemnestra, Agamemnon's wife at home who is grieving her daughter sacrificed so the Greeks could sail to Troy.
’But isn't that the point? Who decides who's a monster?'
"The winner.'
Ritsa’s chapters are the only ones told in first person which creates a sense of intimacy and makes this more poignant and instant.
Through others’ eyes, and with insights of her own chapters, we see Cassandra has learned long since to disguise her doubts and fears — if she had any. This makes her appear aloof, careless, and yet the glimpses into her insecurities makes her humane and her proclaimed madness seems apt.
Clytemnestra is supposed to be evil. The deviant wife. Yet, her grief and rage has a firm basis and her capacity for revenge is shown to reinforce a cycle of violence.
What might not appeal to some readers is the modernity of this retelling. It uses language more suited to 21st century dialect.
Example:
’Agamemnon's just like you?' I said.
"Why, aye, you could have a drink with him, bit of a laugh...'
Best mates with Agamemnon. Oh my god.
Do not go in expecting the Iliad.
This is a retelling in a more accessible voice, giving voice to the silenced and oppressed.
This is relatable, relevant, and definitely a step up from her two previous books!
’He had no choice. The gods required it.'
Cassandra laughed. 'The gods must have broad backs, don't you think? Anything anybody does gets blamed on them.'
Thank you to Penguin Books for providing me a physical arc in exchange for a review!